Kiazi Malonga learned the Ngoma, a traditional Congolese drum, alongside his father while growing up in Oakland. Unfortunately, both of Malonga’s parents passed by the time he had turned 21. Malonga’s community supported him through these devastating losses, encouraging him to persevere — and to preserve his family’s craft. Malonga’s latest single and music video, “Mfiawukiri,” celebrates those who lifted him up and those he lifts in turn. “Mfiawurkiri” will appear on Malonga’s upcoming album Zu Dia Ngoma, out on March 1st via Redtone Records.
In our interview, Malonga explains the reciprocal nature of community support and what he hopes those new to Congolese music will learn through his work.
For people who aren’t familiar with the Bay Area, could you describe what the Congolese community is like there?
The Congolese community in the Bay Area is vibrant and deeply rooted in tradition as well as being multiracial. It is vibrant, as we have created space for many of the traditions to be practiced in the Bay Area; we host dance and drum classes on a weekly basis, but beyond that, we incorporate those rich traditions into the fabric of our everyday lives here in the states.
By that, I mean we also play music to celebrate life (birth and passing) and we play at general social gatherings as well as perform. Congolese culture influences the Bay Area community in many ways outside of just drumming and dancing, we also share cuisine as well as our philosophy around community/family building. The community is multicultural in that members of this community extended outside of those of Congolese heritage. We are made up of both BIPOC and non-BIPOC individuals, as well as members of the LGBTQ+ community, all of whom love Congolese culture.
You explained that the community supported you after your parents passed away. What did this community care look like? We so badly need to see models of this in action now.
Folks cooked for me, checked on me regularly, offered continued advice, support and guidance. Some even offered financial help. People continued to share stories of my parents with me (specifically things I might not have known) that were always a pleasure to hear. Many folks also created opportunities for me, be it to perform and/or more traditional types of employment, as a way to help me support myself.
How did you begin learning drums? What are some teaching methods that have stuck with you as an educator?
My father was my first teacher. I learned through mimicking him at the early age of two. I always try to meet my students where they’re at and connect my Congolese traditions with thoughts and concepts that they’re familiar with. I find that pointing out the similarities are often very effective in making the necessary connections during the learning process.
Do you have other artists to recommend for people who would like to dig deeper?
There are not very many traditional Congolese artists but a few whose music would be good to check out are Les Tambours De Brazza, a group that has had a huge impact in helping develop how the Congolese drum (Ngoma) is performed and presented. I have had the pleasure of touring with this group as well. A few additional artists to check out would be Luambo Makiadi Franco & OK Jazz, Koffi Olomide, Fally Ipupa, Innos’B, and Swede Swede.
What would you like people from outside of the Congolese community to understand about you and your music?
I would like people to know that Congolese culture and music is a large part of what makes up African American and Afro Diaspora music and culture. Close to 50% of the slaves that came across the middle passage were from Congo and many of those musical traditions still remain today. Many traditions and practices were preserved through the generations that would show themselves musically (Jazz and Hip Hop), approaches to cuisine (flavourful stews), and even language and customs.
Zu Dia Ngoma will be out out on March 1st via Redtone Records
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